One small bit of talk that seemed more telling than humorous were the words with which Feist ended her 90-minute set: “I’ve ended every show for probably eight years with this song,” she said, introducing “Let It Die.” “This is the beginning of a new era, but let’s it just stick to old plan.” With that, Feist started the song, vocally misfiring on first attempt - and somehow, adding to the already overwhelming vulnerability of “Let It Die. It goes (almost) without saying that the acoustics of the venue brought out the best in Feist, who stumbled a bit with stage banter but seemed to find her footing on the topic “creepy Internet culture.” (Specifically, the fact that tweets had been enough to get the word out about tickets for the show being available at Sound Fix Records in Brooklyn, by pre-ordering “Metals.”) Plus, it’s really something when an artist can inspire two separate singalongs of an unreleased track - the reprise of which was completely unprompted by Feist during her encore. When it came to writing her latest album Metals last winter, Leslie Feist took inspiration from Jonathan Franzen, when he was writing his 2010 novel Freedom. Yet the show’s highlight was a new song: “Graveyard.” The respectful crowd, which included members of Grizzly Bear, roared with cheers at the exact moment “Graveyard” crescendoed, causing the loudest noise presumably ever produced in the church’s crypt. “When I Was a Young Girl,” off “Let It Die,” received a stunning original orchestral arrangement, topped off with intense tribal drumming. While some might have expected Feist to perform “Metals” from front to back, she peppered in old favorites like “Mushaboom” and “Sea Lion Woman,” reworking them to fit in line with the gorgeously brooding sounds of her latest release.